[ OCAT深圳馆 | 新展预告 ] 1342ºC——刘建华作品
“艺术家个案研究”
“OCAT15周年”系列项目
Contemporary Artist Case Study Research
"OCAT 15th Anniversary" Series
1342ºC: Works by Liu Jianhua
1342ºC——刘建华作品
展览总监：栾倩、毕大松
策展人：冯博一、王景
Exhibition Directors：Luan Qian、Bi Dasong
Curators：Feng Boyi、Wang Jing
2019.12.8 - 2020.4.7
OCAT深圳馆_展厅A\B
OCAT Shenzhen
Exhibition Halls A and B
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12.7（周六/Saturday）开幕
Opening Reception
16:30-18:00
“1342ºC”是烧制陶瓷时相对的最高窑温。以“1342ºC”作为刘建华最新个展的题目和对应OCAT深圳馆艺术家个案研究系列，意味着他的这次展览作品以“陶瓷”为媒介的规定性，而陶瓷材质和窑变的不确定特点，恰好可以比附刘建华多年利用陶瓷进行不断艺术实验的“熔点”过程和结果，也涉及到他在中国当代艺术生态中一个视觉“燃点”的活跃程度。
刘建华将传统与当代、自然与日常的态度和感受沉淀为这些陶瓷“物品”的釉面底色，以返璞归真和浑然天成的实验方式，在既熟悉又陌生的隔空里，呈现出人与物之间具体而微的日常生活之中。并超然物外地体悟出耐人寻味的视觉认知，抑或透过时光的浮尘去发现、思考我们习以为常的现实处境。
1342ºC is the highest temperature when firing ceramics. The exhibition title, 1342ºC is part of the series of case study research that has been undertaken by the OCAT Shenzhen, indicating how Liu Jianhua is working within and against the limits of “porcelain” as a medium, as well as the unpredictability of materials and firing process. This also invokes Liu Jianhua’s years of ongoing artistic experimentation with the process and results of “melting points” and relating to his active “igniting point” within the context of contemporary Chinese art.
In Liu Jianhua’s porcelains, the traditional and the contemporary, as well as the natural and everyday attitudes and feelings have been sedimented into the glazed background of these “objects.” His experimental method comprises a return to nature that allows him to present people and objects in a space that is simultaneously familiar and strange, revealing the slight but specific relationships between people and their objects in everyday life. In addition, the outside world achieves a new form for visual cognition, or rather, we pass through the dust of time to discover and rethink about the world as we know it.
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关 于 艺 术 家
About the Artist
刘建华
1962年出生于中国江西，1989年毕业于江西景德镇陶瓷学院（现景德镇陶瓷大学）美术系雕塑专业，1989年至2004年在昆明云南艺术学院美术学院雕塑系任教；2004年起至今在上海大学美术学院雕塑系任教，现生活工作于中国上海。
刘建华以综合材料为主要媒介，是中国当代艺术领域最具实验性、代表性的艺术家之一。1989年大学毕业后，他尝试在当代背景下进行实验性的创作。刘建华的陶瓷和综合材料作品反映了近年来不断困扰中国的经济和社会变化。他的《日常·易碎》系列于2003年威尼斯双年展中国馆中首次展出，刘建华将日常用品复制成外表和象征意义大于实用性的神秘物体。2008年，他一反先前多年对全球化及中国社会急剧转型引发的诸多问题、焦点的近距离直接关注，提出“无意义、无内容”的理念来进行创作，从2008年作品《无题》开始了一个全新方向的探索，并形成了当代艺术创作的个人语言体系。
刘建华作品受邀参加2019年洛杉矶郡立艺术博物馆巡展、2018年意大利那不勒斯Made in Cloister基金会个展、新加坡国家美术馆极简主义主题展、2017年第57届威尼斯双年展主题展、日本第六届越后妻有大地艺术祭三年展、第一届基辅当代艺术双年展、意大利第十四届卡拉拉国际雕塑双年展、第十七届悉尼双年展、加拿大2009年温哥华双年展、第三届南京三年展、第二届莫斯科双年展、第一届新加坡双年展、第六届上海双年展、2006 釜山双年展、第50届威尼斯双年展中国馆等展览，以及由英国泰特现代美术馆、法国蓬皮杜艺术中心、旧金山亚洲艺术博物馆、丹麦奥胡斯美术馆、日本东京森美术馆、英国泰特利物浦美术馆、北京尤伦斯当代艺术中心、上海当代艺术博物馆、瑞士伯尔尼艺术博物馆、香港艺术中心、北京今日美术馆、上海美术馆、上海当代艺术馆、深圳华美术馆、德国德累斯顿国家艺术收藏馆、深圳美术馆、广东美术馆、北京中国美术馆、荷兰格罗宁根艺术博物馆、奥地利维也纳路德维希当代美术馆、荷兰眼镜蛇当代艺术美术馆、奥地利埃舍尔收藏博物馆、德国汉堡当代美术馆、都柏林爱尔兰现代美术馆、法国马赛现代艺术博物馆等机构举办的展览。
刘建华作品还被美国纽约现代艺术博物馆（MOMA）、英国伦敦泰特现代美术馆、英国伦敦维多利亚与阿尔伯特美术馆（V&A）、美国旧金山亚洲艺术博物馆、美国南加州大学亚太博物馆、澳大利亚悉尼白兔艺术中心、迪奥巴黎总部、路威酩轩艺术基金会、意大利佛罗伦萨萨尔瓦多·菲拉格慕博物馆、K11艺术基金会、挪威俾尔根KODE美术馆、香港M+美术馆、上海余德耀美术馆、上海浦江华侨城、日本十和田市美术馆、纽约古根海姆美术馆、澳大利亚悉尼新南威尔士艺术博物馆、中国上海世博会组委会、中国上海陆家嘴环球金融中心、西班牙国家银行艺术中心、北京今日美术馆、深圳美术馆、广东美术馆、澳大利亚昆士兰美术馆、日本原美术馆、中国香港中国会、深圳何香凝美术馆等公共机构和私人收藏。
Liu Jianhua was born in 1962 in Ji’an, Jiangxi Province, China. In 1989, he graduated from Fine Art of Sculpture at the Jingdezhen Ceramics Institute. He taught in Department of Sculpture at Yunnan Academy of Arts in Kunming from July 1989 to July 2004, since when he has been teaching at Department of Sculpture in Shanghai Academy of Fine Arts, Shanghai University. The artist now lives and works in Shanghai, China.
Liu Jianhua is one of China’s best-known contemporary artists who experiments with comprehensive materials. After graduating from college in 1989, and within a contemporary context, he started his own experimental practices. Liu’s porcelain and mixed media works reflect the economic and social changes in China as well as the problems that follow suit. His Regular Fragile series, first shown at the Chinese Pavilion, Venice Biennale in 2003, is composed of porcelain replicas of daily that privilege appearance and symbolism over function. In 2008, he shifted his previous close and direct attention on the problems emerged in China from globalization and sharp social changes to “no meaning, no content”, which declared the fairly new exploration of his creation with works Untitled in 2008 and therefore has developed his own system of expression for contemporary art.
Liu Jianhua’s works have been exhibited at a tour exhibition at Los Angeles County Museum of Art in 2019, a solo exhibition at Fondazione Made in Cloister, Naples, Italy in 2018 and a Minimalist exhibition at National Gallery Singapore in 2018, Minimalism: Space.Light.Object at National Gallery Singapore, the international art exhibition VIVA ARTE VIVA of the 57th Venice Biennale 2017, The 1st Kiev Biennale of Contemporary Arts, 14th international Sculpture Biennale of Carrara, 17th Biennale of Sydney, Vancouver Biennale 2009-2011, The 3rd Nanjing Triennial, 2nd Moscow Biennale of Contemporary Art, The 1st Singapore Biennale, The 6thShanghai Biennale, Busan Biennale 2006, China Pavilion of the 50th Venice Biennale and exhibitions held by institutions including Tate Modern (London, UK), Center Pompidou (France), Asian Art Museum (San Francisco, USA), ARoS Aarhus Kunstmuseum (Aros , Denmark), Mori Art Museum (Tokyo, Japan), Tate Liverpool (Liverpool, UK), Ullens Center for Contemporary Art (Beijing, China), Power Station of Art (Shanghai, China), Kunstmuseum Bern (Bern, Switzerland), Today Art Museum (Beijing, China), Shanghai Art Museum (Shanghai, China), MoCA Shanghai (Shanghai, China), OCT Art and Design Gallery (Shenzhen, China), Staatliche Kunstsammlungen Dresden (Dresden, Germany), Shenzhen Art Museum (Shenzhen, China), Guangdong Museum of Art (Guangzhou, China), National Art Museum of China (Beijing, China), Groninger Museum (Groninger, The Netherlands), Museum Moderner Kunst Stiftung Ludwig Wien (Austria), Cobra Museum of Modern Art (The Netherlands), Kunst Der GegenwartSammlungEssl (Vienna, Austria), Hamburg Art Center (Hamburg, Germany), Irish Museum of Modern Art (Dublin, Ireland), Marseilles Museum of Contemporary Art (Marseilles, France), etc.
Liu Jianhua’s works have been collected by MOMA (New York, USA), Tate Modern (London, UK), Victoria&Albert Museum (London, UK), Asian Art Museum (San Francisco, USA), USC Pacific Asia Museum (Los Angeles, USA), White Rabbit Gallery (Sydney, Australia), Dior Paris Headquarter (Paris, France), LVMH Art Foundation (Paris, France), Salvatore Ferragamo Museum (Florence, Italy), K11 Art Foundation (Hong Kong, China), Bergen Art Museum (Bergen, Norway), M+ Sigg Collection (Hong Kong, China), YUZ Museum Shanghai (Shanghai, China), OCT Contemporary Art Terminal (Shanghai, China), Towada Art Center (Towada, Japan), Guggenheim Museum (New York, USA), The Art Gallery of New South Wales (Sydney, Australia), Shanghai World Expo National Organizing Committee (Shanghai, China), Shanghai Lujiazui World Financial Center (Shanghai, China), Santander Bank Art Center (Santander, Spain), Today Art Museum (Beijing, China), Shenzhen Art Museum (Shenzhen, China), Guangdong Museum of Art (Guangzhou, China), Queensland Art Gallery (Brisbane, Australia), Hara Museum of Contemporary Art (Tokyo, Japan), China Club (Hong Kong, China), He Xiangning Art Musem (Shenzhen, China), etc., and by private collections.
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关 于 策 展 人
About the Curators
冯博一
独立策展人、美术评论家。现生活工作于北京。
从上世纪80年代末开始，致力于中国当代艺术的策划、评论、编辑等工作，注重当代艺术的实验性、批判性，关注于边缘、另类的艺术群体和年轻一代的生存状态和艺术创作。撰写有几十万字的论文、评论文章。
策划的重要展览有：“生存痕迹——98中国当代艺术内部观摩展”（北京）、“不合作方式”1、2展（上海、荷兰格罗宁根美术馆）、“重新解读——首届广州当代艺术三年展”（广东美术馆）、“左手与右手——中、德当代艺术展”（北京798艺术区）、“今日中国——中国当代艺术的转世魅影”展（奥地利维也纳埃索美术馆、荷兰COBRA美术馆）、“成都双年展”（成都会展中心）、“七零八落”艺术展（北京798艺术区帝门画廊）、“杂七杂八”艺术展（苏州金鸡湖美术馆）、“透视的景观——第六届深圳国际当代雕塑艺术展”（OCAT深圳馆）、“移花接木——中国当代艺术的后现代方式”展（华·美术馆）、“我的骨肉皮”（纽约亚洲艺术艺术博览会主题展）、“地图游戏：变化动力——国际视觉艺术暨建筑项目”（北京今日美术馆、英国伯明翰博物馆、意大利Terni国际当代艺术中心）、五届“两岸四地艺术交流计划”（何香凝美术馆、台北市立美术馆、香港奥沙艺术空间、澳门艺术博物馆）、“一种生存实在属性的叙事——中国当代艺术展”（挪威俾尔根美术馆）、“首届CAFAM未来展：亚现象——中国青年艺术生态报告”（北京中央美术学院美术馆）、“世代转化的中国创造当代艺术展”（丹麦奥胡斯美术馆）、“乌托邦·异托邦——乌镇国际当代艺术邀请展”等。是为中国目前最活跃的独立策展人和评论家之一。
Feng Boyi is an independent curator and art critic. Currently he lives and works in Beijing, Shenzhen.
Since the late 1980s, Feng has been involved in Chinese contemporary art as a curator, critic and editor, focusing on experimental and critical contemporary art. He is particularly interested in marginal and alternative contemporary art groups, emerging artists and their artistic creation. He has written hundreds of thousands of words of articles, theses and essays.
He has curated many important exhibitions in China and abroad, including “Traces of Existence: 1998 Chinese Contemporary Art Study Exhibition ”(Beijing), “Fuck Off 1 and Fuck Off 2”(Shanghai and Groninger Museum, Netherlands), “Reinterpretation: The First Guangzhou Triennial” (Guangdong Museum of Art), “Right Hand, Left Hand: A Sino-German Exhibition of Contemporary Art” (798 Art District, Beijing), “China Now: Reincarnations of Chinese Contemporary Art”(Essl Collection of Contemporary Art, Austria and Cobra Museum of Modern Art, Netherlands), “The Chengdu Biennale” (Chengdu Exhibition Center), “A Miscellany of Art ”(Dimensions Gallery, 798 Art District, Beijing and Jinji Lake Art Museum, Suzhou), “A Vista of Perspectives: The Sixth Shenzhen Contemporary Sculpture Exhibition” (OCT Contemporary Art Terminal, Shenzhen), “Surreptitious Substitutions: Post-Modern Methods in Chinese Contemporary Art” (OCAT Art and Design Gallery), “My Bone, Flesh, and Skin” (Asian Contemporary Art Fair, USA), “Map Games: Dynamics of Change-International Visual Art and Architecture Project”(Today Art Museum, Beijing, Birmingham Art Museum, UK, Terni International Center for Contemporary Art, Italy),“The Fourth Cross-Strait Four-Regions Artistic Exchange Project” (He Xiangning Art Museum, Taipei Fine Arts Museum, Osage Gallery Kwan Tong, and Macau Museum of Art), “A Narrative of Actual Properties of Life: Chinese Contemporary Art” (Bergen Kunsthall, Norway), “CAFAM Future: Sub-Phenomena—Report on the State of Young Chinese Art” (CAFA Art Museum, Beijing), “A New Dynast-Created in China”(ARoS Aarhus Art Museum), and “Utopias/Heterotopia—Wuzhen International Contemporary Art Exhibition”（Wuzhen, China）. Feng Boyi is one of the most active independent curators and critics in China.
王景
生于1982年、广东。毕业于广州美术学院美术史系和纽约巴德学院策展研究中心。现生活工作于深圳，任职于OCAT深圳馆研究部。
她（参与）策划的展览包括：“许志强：瓷砖空间”（招引空间，深圳，2019）；“不被察觉”影像展（招引空间，深圳，2018）；“大环境——陈侗、田挥双个展”（盒子空间，深圳，2018）；“（生成）洁净”（牛棚艺术村，香港，2017）；“一次集结：缅怀与重构——2016年上海浦江华侨城十年公共艺术计划”（OCAT上海浦江展区，2016）；“12点（13小时时差）”（海塞尔美术馆，纽约，2015）；“补充说明”（海塞尔美术馆，纽约，2014）；“次要的东西”（海塞尔美术馆，纽约，2013）；“去——OCAT青年计划首展”（OCAT深圳馆，深圳，2010）；“出境——广深港澳当代艺术展”（何香凝美术馆，深圳，2008）；“醒着的，睡着的”——丹尼尔·克诺个展（非艺术中心，上海、博尔赫斯书店当代艺术机构，广州、E6空间，深圳、业社空间，武汉，2008）；“这是我的风景——艾伦·茨威格录像展”（非艺术中心，上海、博尔赫斯书店当代艺术中心，广州，2008）；“你的身体是我的战场——当代行为展”（非艺术中心，上海，2007）。
她参与OCAT、维他命艺术空间、旧金山中华文化中心等机构的出版物编辑工作。出版包括《当代已然成史：我（们）与黄专》（岭南出版社，2016-2018）；《现在时双年展2015》（旧金山中华文化中心，2015）；“OCAT图书馆系列出版物”之《亚历山大·科耶夫作为智者：鲍里斯·格罗伊斯讲座》、《拉希德·阿拉因在深圳：拉希德·阿拉因讲座》、《克里斯·马克电影中的历史和记忆：郝敬班讲座》（OCAT深圳馆，2012-2013）；《语词、意识与艺术——徐坦“关键词”视觉语言实验项目档案》（岭南出版社，2011）；《徐坦：“科云”的词》（维他命艺术空间，2011）；《国家遗产：一项关于视觉政治史的研究》(RIGHTON PRESS,2009）；《张培力：艺术工作手册》（岭南出版社，2008）。
她的写作和采访发表于艺术论坛中文网站、《画廊》杂志、《Bomb》杂志、《世界建筑导报》、《外滩画报》等。
Wang Jing
was born in 1982 and now living and working in Shenzhen. She was graduated from Fine Art Academy of Guangzhou and CCS(Center for Curatorial Studies) Bard College, New York.
She has curated many projects and exhibitions in different cities and spaces, including Xu Zhiqiang: My Tiled Space (Attract space, Shenzhen, 2019), Transition Agency (Attract space, Shenzhen, 2018),The Overall Situation: Double Solo Exhibition of Chen Tong and Tian Hui (OCAT Shenzhen OCT Harbour Exhibition Site- Boxes Art Space, 2018), Becoming (Cattle Depot Artist Village, Hong Kong, 2017), An Instance of Concentration: Reminiscence and Reconstruction (OCAT Shanghai Pujiang Exhibition Site, 2016 -2017), Twelve o'clock (Hessel Museum of Art, New York, 2015), Footnote (Hessel Museum of Art, New York, 2014), Marginalia (Hessel Museum of Art, New York, 2013), Go, the First Exhibition of OCAT Youth Project (OCT Contemporary Art Terminal, Shenzhen, 2010), Departure: Contemporary Art Exhibition of Guangzhou, Shenzhen, Hong Kong and Macao (He Xiangning Art Museum, Shenzhen, 2008-2009), Awake Asleep, solo exhibition of work by Daniel Knorr (FCAC, Shanghai; Libreria Borges Institute for Contemporary Art. Guangzhou; E6, Shenzhen; Manufatura, Wuhan. 2008),This is My Landscape, video works by Ellen Zweig (FCAC, Shanghai; Libreria Borges Institute for Contemporary Art. Guangzhou. 2008)，Your Body is My Battleground (FCAC, Shanghai, 2007).
She has participated in editing publications including “Contemporary is Now History” Huang Zhuan and Us (Ling Nan Press, Guangzhou, 2016-2018), OCAT Library- Alexandre Kojève As a Sage, lecture by Boris Groys; OCAT Library- Rasheed Araeen in Shenzhen, Lecture by Rasheed Araeen; OCAT Library- History and Memory in Chris Marker’s Films, lecture by Hao Jingban. (OCAT Shenzhen, 2012-2013), Present Tense Biennial 2015 (Chinese Culture Center, San Francisco, 2015), Xu Tan: Keywords of Cowin Global (Vitamin Creative Space, Guangzhou, 2011), Vocabulary, Consciousness (yi shi), and Art- The “Keywords” Case Files from Xu Tan’s Visual Linguistic Experiments (Ling Nan Press, Guangzhou, 2011), State Legacy: Research in the Visualisation of Political History (Righton Press, Manchester, 2009), Artistic Working Manual of Zhang Peili (Ling Nan Press, Guangzhou, 2008).
Her writings and interviews have been published by Artfourm, Gallery, Bomb Magazine, Architectural Worlds, The Bund.
OCAT深圳馆成立于2005年，位于华侨城创意文化园内，是OCAT馆群的总馆。作为馆群中成立最早的机构，OCAT深圳馆长期致力于国内和国际当代艺术和理论的实践和研究。从开创至今，一直围绕着艺术的创作和思考而展开其策展、研究和收藏工作。
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